The strut-type hybrid system can be made in different geometric shapes, which are affected by: the number and arrangement of struts, the shape and position of the cable in relation to the girder, and the size and shape of the cross-section of the girder. When choosing a system, all the listed parameters can vary geometrically, which has consequences on the behaviour of the girder when carrying the load by directly affecting the change in the stiffness of the system. In addition to the geometric parameters, the stiffness of the hybrid system is affected by variations in the properties of the incorporated materials and their mutual relations. In this paper, based on a detailed parametric analysis, the principles of design, the choice of materialisation, and the possibility of further optimisation of the persistent-type hybrid systems are given, with the aim of additionally increasing the load capacity and reducing the deformability. The results of this research are presented in the form of general expressions and diagrams, which can be applied with sufficient accuracy in practice when choosing the form and materialisation of the hybrid system, as well as the possibility of further optimisation of the system by applying pre-stressing. Using the example of external pre-stressing of a glued laminated timber girder, with the assumption of ensuring the lateral stability of the system, the results of the analysis of the behaviour of such a system under load in real conditions, i.e. the influence of the environment and changes in material properties, are given.

The subject of this paper is architectural heritage of the former Socialist Republic of Montenegro (SR Montenegro) in the period between 1945 and 1980, with particular emphasis on the role of stone in modern architecture. Stone, as a primordial building and design material, is present in post-war modernist Yugoslav architecture, especially during the first decades, the 50s and 60s of the 20^th century. It establishes the continuity of construction, which in Montenegro has two fundamental links: the first is the connection with the vernacular principles of construction in the dry, rugged Mediterranean landscape that extends all the way to the central part of Montenegro, and the second is the connection with the beginnings of the modernist architectural idiom in Montenegro in the interwar period when stone was used mainly in a classical, academic manner. While the paper sheds the light on a hidden part of a very fruitful but neglected architectural heritage, standing in sharp contrast with today’s trends of neo-liberal design practices in the country, it also aims to discern an intrinsic influence of the Mediterranean ethos on the architectural and urban developments on the southern and central region of Montenegro. Although most of the addressed buildings are part of the urban context, the imprints of the Montenegrin landscape, with stone being its dominant characteristic and a certain kind of national demarcation present through its authentic use, create recognizable genius loci. Finally, while deconstructing this phenomenon, the paper will help to communicate the process of retreat with respect to the wider tendencies of European architectural currents of the 20^th century.

There are more than forty projects for building Orthodox churches preserved in the Archives of Bosnia and Herzegovina in Sarajevo. Presented here are four projects for the churches with domes and one for three-conchal building with no dome.
The oldest projects are those of Višegrad (dated from 1882) and Zenica (dated from 1889), which represents the church built between 1883-1885. Name of the architect remains unknown in both cases– a project for the church in Višegrad is not signed and signatures of Franz Blazek and perhaps Miloš Komadina on a project for the church in Zenica are not a proof of them being the authors. Projects testify the wishes of the church patrons for their temples to show connection with the Serbian sacral architecture of the 13th century (Višegrad) or to visually manifest growing economic power and social standing of the Serbian Orthodox community, building their church similar to the cathedral in Sarajevo (Zenica). Project for the St Sava church in Blažuj was created in 1895/96, following wishes of the patrons, representatives of the Church community. Project of August Butschа embodied the idea of national recognition in historicist neo-byzantine style created by famous architect of historicism Teophil Hansen, which was back in the time generally recognized as a neo-Byzantine style, and in this specific case as an Orthodox and Serbian one. “Serbian-Byzantine style” of the mausoleum chapel of Lower Tuzla merchants Jovanovićs at Trnovac was almost for sure initiated by their wishes, and the chapel was built in 1889 by well-thought design of the architect Franz Blazek. Neo-Moravska three-conchal basis of Vodjenica church, projected in 1911 by Milos Miladinovic, can be considered as an aspiration of the church patrons to have their temple look like Mostanica.
Projects presented can be considered as rare testimonies to the role that “carriers of the patronage mechanism in the process of originating and forming of the church architecture” had in Bosnia and Herzegovina in the Austro-Hungarian period, when the lack of national state resulted in lack of a clear view of the sacral construction forms that would express its identity.